July 1997 newsletter, p. 3

July/August 1997
Photo by Rich Hoover
Norman Hedman and Tropique in Lincoln for Jazz in June
Volume 2. Number 7
The Prez sez . ••
"Recording a Success!"
Dear Faithful Friends and Fans,
Since I last communicated with you all, life has
bestowed me with many incredible gifts and treasures - not
to forget memories made to last a lifetime. I'm coming to
you this issue pretty much overwhelmed by a myriad of
feelings and emotions. I think I can best sum up the focal
point of this letter in one word, "gratitude." Please let me
continue.
Barely two years ago I started the BMF without
really a clue with what to do with it. Granted - I know my
stuff about the music biz a little, and have always been
considered a major player in the record collecting
community - but in my wildest dreams never imagined we'd
grow to such a universal, lofty position in the ever so
wonderful world of jazz that I am now so committed to.
All the bullshit, deceit, and egos I have struggled
with in trying to make our city a jazzier place to live for we
who love this genre so, has now come full circle. When I
think of all the world class musicians and educators that
have enriched us since our inception - I know it was worth
it. Viewing kids and oldsters alike - mesmerized by the
likes of 89-year-old KC legend Claude "Fiddler" Williams, or
the 95-year-old sax master Benny Waters, who has been
doing his "thang" before they ever called it jazz, makes me
never want to quit or turn back period.
The music so vibrant, the history so important - I
plan to push this dream beyond my passing, way into the
21st century and beyond. I just can't stop this quest to
bring this amazing music to your eyes, ears, and soul.
Anyway, last month at Jazz in June - when we
presented the fabulous Latin group Norman Hedman and
Tropique, it truly seemed like a homecoming to me. When
the emcee, Rich Claussen, ever so kindly asked me to
stand and thanked me for our input into this town raised on
football - your outpouring of affection and support thrilled
me beyond belief. We have come together, rose up and
for once united into a true core of what makes a jazz
community viable. I thank and adore you all for showing me
you truly endorse us. We won't let you down.
By the way, J also want to thank Keith Heckman
from Dietze MusiC for providing the lovely grand piano in
which Glen Pearson dazzled us all. Additional kudos go
out to myoId buddy, Kip Murphy, from Murphy Piano
Service who saved the day and brought the Yamaha up to
speed for the second set.
So, now let me tell you about my trip to New
York.
(continued on page 2)
In this issue of Jazz
The Prez sez .................................................................. 1
Jazz in June reviews ....................................................... 3
Prairie Jazz Fest review ................................................... 5
Tomfoolery .................................................................. :.7
Jazz in the venues .......................................................... 7
New York pix .................................................................. 8
Jazz on the radio .......................................................... 10
Scrapple from the Apple ............................................... 11
Sam Butera-Wailing Sax Incarnate .................................. 12
Freewillin' ..................................................................... 13
Blues corner/Blues on disc ............................................ 14
The Prez SeZ(continued from page 1)
My oh my, New York City - this truly was the trip of
trips as I spent over two weeks staying at the comfy digs
provided by our New York jazz correspondent Russ
Dantzler, of Hot Jazz Management. Located only two
blocks away from Norman Hedman, Bobby Watson, and
Horacee Arnold, AND a couple blocks in another direction
from the new Birdland. Hells Kitchen - my New York
neighborhood. Another bonus was meeting up with a
fabulous massage therapist - Mikala Freitas - also in the
same building. She saved both Michele and I from
enduring extra aches and pains we middle-agers seem to
deal with - BUT NOT ON THIS TRIP - the BMF was on a
mission, and is was accomplished I
We made the best damn jazz record I think I have
ever heard, let alone being fortunate enough to being able
to executive produce. Under the guise of the brilliant
engineering of Eastside Sound's main man, Lou Holtzman,
and Norman Hedman, showing why he's known for
possessing the best producing ears in the biz - Jazz
Foundation Records proudly presents our premiere artist
Andrienne Wilson, with her sensational new release She's
Dangerous. Backed not only by Norman Hedman on
percussion, we had a stellar rhythm section consisting of
the best keyboardist I know (and I know a few), George
Cables; the electrifying Alex Blake on bass; and a new
friend for life took shape as I marveled at the uncanny
genius of Tommy Campbell on drums. Bobby Watson
turned in his usual 110% as our special guest on alto, and
ditto for Stanton Davis, Jr., on trumpet. A dream band
made in Heaven to convey the excellence of execution 1'or
the pen, voice, and flute of one of today's still untapped
treasures - Andrienne Wilson - soon to emerge as a diva to
the universe. We're returning to New York soon to
hopefully wind up a deal with a very major independent
label - and the outcome will be our next headline. Get
ready fans - you won't be sorry and you'll be totally blown
away!
Even though I got to hear the likes of Chris
Anderson, Barry Harris, Tommy Flanagan, and the
wondrous T oshiko Akiyoshi Jazz Orchestra Featuring Lew
Tabackin (met with Lew - and may try to bring them here in
the near future) - I got all the great jazz listening I could after
spending five solid days with the above mentioned
Andrienne Wilson Band rehearsals at Montana Studios
and the super recording sessions at Eastside Sound.
Believe me - much more to follow in the next issue
including the rest of our entertainment/education
schedule for the '97-'98 season (don't touch that dial, the
BMF is truly your jazz connection).
Late flash - just received new issue of Midwest
Jazz with featured article on MmoiMby Lee Hill Cavanaugh I'm totally touched and it's a thrill to really see our work
flourish outside of our homebase.
Hang on - we're on our way. Who's afraid of the
long hot summer? Not mel
Butch Berman
45683968,25762
Jazz is published 8 times a year by The Berman Music
Foundation, at 719 P St., Studio G, Lincoln, NE, 68508.
Editor: Dave Hughes
Contributing Writers: Tom Ineck, Rich Hoover, Butch
Berman. Dave Hughes. Nancy Marshall. and Morgan Jones
Photographers: Rich Hoover. Tom Ineck, Butch Berman,
and Morgan Jones (who also shot our cover photo this issue)
For inclusion of any jazz or blues related events, letters to the
editor, or suggested articles, you can either mail them to the
office. phone us at 402-476-3112, fax us at 402-475-3136, or email us at [email protected].
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If you would like to be added to our mailing list, please contact us
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Jazz is printed by Jon Hischke and the gang at The Printer at
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5606 S. 48th St., also in Lincoln. 402-421-1083.
The Berman Music Foundation is a non-profit, tax exempt,
501 (c) (3) private foundation recognized by the Internal Revenue
Service and the Nebraska Department of Revenue. It was
established in the spring of 1995 in order to protect and promote
unique forms of jazz music.
Trustee: Butch Berman
Consultants: Dave Hughes, Nancy Marshall, Wade Wright,
Michele Michaels, and Russ Dantzler'
Page 2
piano, or kalimba) performed a powerful rendition of "Flight
of the Spirit," followed by a flashy set closer inspired, said
Hedman, by Desi "Babaloo" Arnez
Another new composition, "Gypsy Caravan,"
opened the second set with more latin exotica. But the
highlight of the evening was Wilson's composition "Alone
in love With You," sung by Wilson with power and grace.
She combines a four-octave range with a great sense of
rhythm, dynamics and drama. It's too bad her vocal artistry
was featured only once during the entire show.
Pearson introduced a Hedman-penned love song
with a piano solo drenched in traditional gospel-music
Photo by Rich Hoover chords, as though he were testifying at the altar. Up next
Norman Hedman
was Wilson's high-velocity romp "Ample Hips," the ultimate
latin rave-up. Sylvester took a fire-breathing alto sax solo,
and Martinez worked the timbales with astounding ability.
"One For Ahmad" ended the concert with typical
latin flair.
Jazz in June was a
cool tropical breeze
By Tom Ineck
The 1997 Jazz in June series was loaded with
latin rhythms, with three of the four acts taking at least
some inspiration from the sounds of Brazil and the
Caribbean.
All four concerts proved immensely popular,
drawing between 1,000 and 2,000 people each night to
the Sheldon Sculpture Garden.
Norman Hedman & Tropique ended the season
June 24 with the most explicit display of latin roots. The
performance stretched 45 minutes beyond the official
quitting time, but no one was complaining.
Microphone and monitor troubles developed in
the opening number, so the concert was delayed while
technicians fixed the problems. The six-piece band
returned in full force, and it was smooth sailing for the rest
of the delightful evening, beginning with the very
celebrative mood of "Celebration," a composition by leader
Norman Hedman.
In rapid succession came solos by alto saxophonist
Jorge Sylvester, pianist Glen Pearson, flutist Andrienne
Wilson, bassist Ron Monroe, timbales virtuoso Willie
Martinez and conguero Hedman. A native of Jamaica, West
Indies, Hedman is an excellent composer in the latin style,
and his conga playing is first-rate.
Hedman introduced several new tunes that have
yet to be recorded, including "Shades of Magenta,"
featuring a percussive piano solo in which Pearson
alternated full chords with dazzling Single-note runs. On
the breezy "I Caught Your, Smile," Wilson turned in a
breathy flute solo, Sylvester deftly hit squealing overtones
in the upper registers, and Pearson hammered out chord
clusters with ferocious drive.
The exotic "Camel Rise" advanced with a steadymoving gait, accentuated by the electric bass line. In his
solo, Pearson seemed to mimic the awkward, but elegant,
movements of a desert caravan. The trio of Hedman,
Pearson and Monroe (doubling on the African thumb
Photo by Rich Hoover
Andrienne Wilson
On June 3, the Nebraska Jazz Orchestra reprised
many of the tunes that longtime fans know from the big
band's regular-season performances at the Ramada Hotel.
Of course, many listeners in the Jazz in June
audience were hearing the program for the first time,
making it an excellent introduction to one of the country's
finest swing ensembles.
'
"Strike Up the Band," the obvious opener, warmed
up the croWd, as well as the players, with music director Ed
love taking a powerful tenor sax solo. "A Warm Breeze."
from the Count Basie songbook, swung easily in classic
Basie fashion.
Saxophonist Dave Sharp's arrangement of Charles
Mingus' "Remember Rockefeller at Attica" featured some
typically Mingusian piano playing by Tom Harvill. a bluesy
tenor solo by Scott Vicroy and the always-solid bass work
of Andy Hall.
Sharp took the lead on the ballad standard "My
Romance," with Harvill again offering some excellent
keywork. Sharp's own composition "On the Westside" had
the whole band swinging.
The rest of the NJO concert followed suit, with a
pleasing mix of evergreens, original compositions and
interesting new· arrangements, all performed with poise
and professionalism.
Page 3
(continued on page 4)
Photo by Rich Hoover
Karrin Allyson
Karrin Allyson and Friends -- comprised of the
cream of Kansas City's jazz crop -- made a lot of new
friends June 10 as they played to an audience of 2,000.
Allyson, who has performed in Lincoln several
times over the last few years (thanks to the Berman Music
Foundation), summed up the ideal evening setting with
the first selection, a driving, up-tempo version of
Gershwin's "'s Wonderful." Solos by pianist Paul Smith,
gUitarist Danny Embrey and drummer Tommy Ruskin
heightened the sense of excitement.
Given a Latin tinge, "It Could Happen to You" had
Allyson deftly scatting in unison with Embrey's flawless
guitar lines. On "Nothin' But the Blues," her supple, throaty
voice slowly snaked up and down the scale to hit all the
right blue notes.
Next up was Billy Strayhorn's "Daydream," the title
track from Allyson's upcoming release. From a slow waltz, it
gradually moved uptempo, making way for a bass solo by
Gerald Spaits and some nifty piano-guitar trades.
Traveling south, Allyson sang a couple of tunes by
the late Brazilian composer Antonio Carlos Jobim,
including a samba sung in the original Portuguese and the
popular "Dinji." Peter Nero's lilting "Sunday in the Park"
and Charlie Parker's bop classic "Yardbird Suite" closed the
first set on a high-energy note.
Continuing in the bop vein, AIIyson opened the
second set with a fleet version of "How High the Moon."
Slowing things down a bit, she retold the musical, mystical
story of "Nature Boy" with an appropriate sense of awe and
wonder in her delivery. The lighthearted "Robert Frost," a
Jay Leonhart tune in which the composer yearns for
enough leisure time to write in peace, featured a
stunningly lyrical solo by Spaits.
Smith's powerful blues piano style got the
spotlight on "The Pack Your Suitcase Blues," a song,
Allyson noted, that is all about revenge. Shifting gears
again, she sang the first verse of Hoagy Carmichael's
"Stardust" in French, before finishing the achingly slow
rendition in English.
For a smoking finale, Ruskin kicked off a New
Orleans march rhythm and Allyson launched into the
bluesy, uptempo "Yeahl Yeahl" Undaunted when she
drop a line 01 the fast-paced lyric, she jumped back in and
earned a wild round of applause when the show was over.
The warm, humid evening of June 17 set the
proper mood for the rain-forest rhythms and sultry vocals of
Angela Hagenbach and Musa Nova, also making a return
appearance to Lincoln from their homes in Kansas City.
A Henry Mancini tune was the unlikely opener, but
in the hands of Musa Nova (portuguese for "new
inspiration") it flowered into a zesty samba.
The full range and beauty of Hagenbach's voice
began to emerge on Dory Caymmi's "Obsession," a
Brazilian masterpiece full of beautiful chord changes and
lyrics that seemed to gush from Hagenbach in sensuous
torrents. Bassist Bob Bowman turned in a great solo,
followed by Danny Embrey on nylon-stringed acoustic
guitar.
The ballad "Estate (Summer)," with its languid lyric
celebrating the fullness of the season, received a gently
caressing treatment from Hagenbach, first in English, then
in Portuguese. On "Feel the Magic," drummer Doug
Auwarter and percussionist Gary Helm created intricate
polyrhythms, and Hagenbach took listeners to the tropics
with a series of high-pitched bird calls.
Photo by Rich Hoover
Angela Hagenbach
Embrey's gorgeous composition "Samba '88"
featured Bowman, first with a masterful bowed bass melody
line and later with a very percussive solo. Hagenbach's
wordless vocal was dreamy and sublime. She then gave a
heartfelt reading of Sergio Mendes' slow bossa "So Many
Stars," which poeticizes that there is "a dream for every
star."
Baden Powell's "Berimbao" was turned into a
lovely fantasia, with keyboardist Joe Cartwright playing a
percussive organ accompaniment. A greatly underrated
and under-recorded pianist, Cartwright cut loose with some
fine keyboard work on "Estate," Cole Porter's "Night and
Day" and the jazz standard "Spring is Here."
Hagenbach's singing and stage presence have
improved since her last appearance in Lincoln. She is
using the full range of her voice, which is considerable, and
she appears much more at ease and self-assured fronting
such an impressive ensemble of musicians.
In fact, by the end of the show, many people in the
audience of 2,000 were so caught up in the Latin swing of
things that they were on their feet dancing.
Page 4
With John Shulters on bass, Colin McGuire on sax,
guest vocalist Ruth Oda and rapper-break dancer Kevin
Griffin, Kid Quarkstar was a high-energy tour de force,
regardless of what you think about the music, which was an
original groove-oriented mix of fusion, funk, hip-hop and
modern jazz.
Tunes with names like "Protecting the Public,"
"Electric Power," "Do It Crush" and "Quarkstar Space
Station" prove that these young firebrands don't take
themselves too seriously, but they are surprisingly
disciplined and capable musicians.
By comparison, Braziliance seemed tame. The
Photo by Rich Hoover group's Latin jazz style is in vogue these days, making it
Kid Quarkstar at Prairie Jazz Fest
seem pretty predictable.
Most of the highlights from this eight-piece
ensemble came from the younger players, like drummer
Tony Hillhouse, bassist Cory Biggerstaff and the
outstanding pianist Broc Hempel. Trumpeter-flugelhornist
Bill Shuart, the group's elder statesman, and saxophonist
Ed Love, sitting in for an injured Dell Smith, also had some
By Tom Ineck
good moments.
Programmed to appeal to a wide variety of musical
tastes, the second annual Prairie Jazz Fest dramatically
illustrated just how broadly the term "jazz" can be
interpreted.
From the hip-hop fusion of Kid Quarkstar to the
Latin lilt of Braziliance to the easy sway of The Lightning
Bugs to the powerful, swinging punch of the Nebraska
Jazz Orchestra, the dazzling array of styles drew an
estimated 1,000 people to Pinewood Bowl during the
afternoon and evening of June 22, although there never
were more than a few hundred present at anyone time.
With its audacious assault on conventional jazz
Photo by Rich Hoover
forms, Kid Quarkstar bewildered some listeners who were
Braziliance at Jazz Fest
there for the more traditional sounds. But the young,
Among other Latin favorites, Braziliance performed
seven-piece outfit (with two added guests) also provided
"The
Girl
from Ipanema," "Blue Bossa" and Chick Corea's
some of the day's most exciting moments.
classic
"Spain."
Hempel's solo on "Spain" was especially
Tempos generally varied from frantic to more
impressive,
as
was
a Biggerstaff bass solo on the same
frantic. Several instrumentalists doubled on rap vocals,
tune
that
first
stated
the melody, then explored some
including keyboardist Jesse Becker, guitarist James
thematic
variations.
Valentine and drummer Carson Young (known to his
"Ipanema" was the most problematic, with no clear
bandmates as Funky Bionic). Trumpeter Nate Walcott also
sense
of
togetherness or rapport among bandmates. The
played keys, and Shane Rutherford alternated with Young
best
that
can be said of singer Sylvia Bailey's rendition is
on drums.
that it was no worse than the original hit version, which was
sung by a painfully off-key Astrud Gilberta.
Perhaps it was the recent deluge of wonderful
Latin-tinged performances at Lincoln's Jazz in June series
that made Braziliance pale by comparison. Perhaps it was
the last-minute loss of Smith that flustered the band and
made for a lackluster performance. Whatever the cause,
the result sounded much too safe and uninspired.
I am tempted to accuse the group of opportunism,
to boot, for sounding like one more lame attempt to jump
on the popular Latin bandwagon. But I will reserve my
judgment until I've heard Braziliance again, perhaps under
Photo by Rich Hoover better circumstances.
(continued on page 6)
Kid Quarkstar guest vocalist Ruth Oda
Prairie Jazz Fest
•
runs Jazz
gamut
Page 5
Silver's "Sister Sadie," featuring Ted Larson, subbing for
NJO regular Scott Vicroy on tenor sax, some nice traded
phrases between guitarist Peter Bouffard and trumpeter
Bob Krueger. an alto sax face-off between Tom Cliffton
and Mark Benson and another tenor sax solo, this time by
NJO music director Ed Love.
Intricate horn lines dominated on the Dave Sharp
arrangement of Charles Mingus' "Remember Rockefeller at
Attica." Pianist Tom Harvill captured the quirky Mingus
mood with appropriately placed dischords, followed by
Love on tenor and a beautiful arco bass solo by Bill Ritchie.
Benson's bluesy "Zzep" brought Larson back for
another honking tenor solo, followed by Harvill on piano,
then the entire trombone section blew into a drum solo by
Photo by Rich Hoover Todd Smith, who began with a powerful press roll. A brass
fugue set the stage for Cliffton, who built his solo slowly,
Braziliance's Sylvia Bailey
The Lightning Bugs -- guitarist Steve Hanson, tentatively, before cutting loose with an accelerating flurry
bassist Jim Pipher and snare drummer Reynold Peterson -- of bop-inspired lines.
remain Nebraska's answer to the Mills Brothers. a role they
have played with relish for several years now.
Whether touring the state as part of the Nebraska
Arts Council's traveling artists program or playing at clubs,
private parties or benefits in Lincoln, the swinging
threesome always projects a relaxed interplay, a friendly
rapport with the audience and veteran craftsmanship.
The Bugs are in their element on such easyswinging oldies as "Glow Worm." Duke Ellington's "In a
Mellotone" and "Satin Doll," "I've Got You Under My Skin"
and "It's Only a Paper Moon." Peterson's superb lead
vocals are perfectly matched by Pipher and Hanson's
harmonies.
Photo by Rich Hoover
Even the sweet corn of "You Always Hurt the One
The Nebraska Jazz Orchestra
You Love," "Daddy's Little Girl" and "Paper Doll" goes
Controlled chaos was the hallmark of Benson's
down easily. and uptempo swingers like Hanson's
"Bugology" show off the trio's musicianship. Hanson's vast musical conundrum "Where's One?" in which no musical
musical resources and twisted humor emerged briefly on statement begins on the first beat of the measure.
the tune as he slyly inserted a quote from Jimi Hendrix's Although it may leave some listeners -- and even players -wondering where one phrase ends and the next begins,
"Voodoo Chile."
Despite the age of these tunes -- most date to the the NJO handled it well. The composer. pianist Harvill and
1930s and 1940s -- the melodies are familiar to almost any trumpeter Krueger took notable solos within this cleverly
generation of Americans, whether it's "Nevertheless, I'm in shifting structure.
The spicy samba "Gozo," by former NJO member
Love with You," "Opus One" or the Mills Brothers' "Cab
and frequent contributor to the band's songbook Rex
Driver."
Cadwallader, featured a peppery guitar solo by Bouffard, a
short trumpet statement from Brad Obbink and a Smith
drum solo full of Latin polyrhythms.
Another samba followed, this time Tom Larson's
"Jose, Can You See?" which has been in the NJO book for
years. Love on tenor sax and Benson on alto sax paved
the way for yet another Latin drunl solo.
Dave Sharp's "Up for the Count" is a fast blues, but
Harvill was up for it, playing a sprightly piano solo.
Trumpeter Krueger and trombonist Todd Thatcher also
turned in fine performances.
The heat of the day finally abated enough to make
Photo by Rich Hoover
Lightning Bugs harmonizing at Jazz Fest
most of the evening very pleasant for the couple of
The 17-piece NJO also showed some serious hundred diehards who stayed for the last set, making
musicianship in the festival finale, starting off with Horace Prairie Jazz Fest 1/ an unqualified success.
Page 6
Tomfoolery
Jazz in the venues
By Tom Ineck
Devoted jazz fans and musicians alike still bemoan
the lack of venues in Lincoln, but the fact is that the area's
best jazz players are getting more club and festival work
and the future looks even brighter.
'
Ebenezer's Edibles & Spirits continues to book
~ive jaz~, and by fall, the faithful may find it there in
mcre.asl~g qua~tities. The Oven maintains its Sunday
ev~ntng Jazz policy, and the Monday Night Big Band and
vanous small combos still hold court Monday evenings in
the Riverside Room at the Ramada Plaza Hotel (the
saxophone quartet Group Sax will appear there July 28).
The latest addition to Lincoln's live jazz calendar is
at Inn Harms Way, the classy seafood restaurant inside the
Great Station at 7th and P streets. Owner Eileen Harms and
manager Mary Lynn Harms have made a commitment to live
jazz from 6-8 p.m. Tuesdays and Thursdays on the quaint
trackside patio west of the building.
As with most restaurateurs who are willing to risk
the ~ncertainties of live music, the Harmses are moving
cautiously. Currently, they are working with guitarist Peter
Bouffard to hire duos for the happy-hour sessions.
~~trons have the added incentive of drink specials
and. deltclous half-price appetizers to accompany the
musIc. On a recent Wednesday night visit, Bouffard and
bassi~t Rusty White entertained the crowd, which grew
steadily as the evening progressed.
Of course, the acceptance and support of this new
venture will determine its future, so pay Inn Harms Way a
visit soon. By the way, the restaurant also offers an awardwinning wine list and a fabulous dinner menu.
I still antiCipate great things from the newly opened
Rogues Gallery, just north of the Grottos restaurant at 11th
and 0 ~treets. Scheduled for a July 11 grand opening
celebration are such local jazz favorites as saxophonist
Dave Sharp, bassist Rusty White and pianist Tom Larson.
The space, which formerly housed Sandy's bar,
has undergone extensive remodeling, including a raised
sta.ge, carpeting, wrought-iron railings, framed prints of jazz
artists, abstract paintings and a top-notch sound system.
However, entertainment manager Dan Bauer tells me that a
collection of 500 or so jazz CDs will be the primary source
of music for a while. Stay tuned.
The July Jamm street festival this year will feature a
jazz stage inside Energy Square (formerly the Centrum).
The Tom Larson Trio will perform at 2 p.m. July 26, followed
by Annette Murrell and Jim Williamson at 3:40 p.m. On July
27, the Andy Hall Trio performs at noon, followed by Group
Sax at 1:40 p.m.
If you couldn't make it to the Montreaux Jazz
Festival this month to see the Nebraska Jazz Orchestra
perform in th~t historic venue, try the Kansas City Blues
and Jazz Festival July 18-20, just a short 200 miles south of
Lincoln. See you there!
We'll have more on the NJO's European adventure
and the KC fest next issue.
by Nancy Marshall
Beginning its second year in September, the
Gallery Walk Cabaret at the Seventh Street Loft is be
another local venue for good jazz. Although you have to
be ever Vigilant since the shows occur on the first Friday of
every month, coinciding with the art gallery openings in the
Haymarket District, you will be well rewarded for your
attention because this is the place to hear fine music in a
smoke free cabaret setting, with refreshments available, at a
very reasonable price.
The Seventh Street Loft at 504 S. 7th is at the top
of a brick business building down by the Haymarket, and is
run by the Wagon Train Project. It is five blocks south of 0
Street on 7th, and there is a sign in big red letters by the
entrance, which is just off the parking lot.
Opening the season on September 5 is the UNL
Jazz Trio with Peter Bouffard on guitar, Tom Larson on
piano, and Rusty White on bass. These three fine
musicians have played together for so long now that their
group really has a unique voice all its own. If you haven't
he~rd them you definitely shouldn't miss this show
because it is a rare opportunity to be able to hear them in a
local venue where they are showcased and not simply
background music. Drop in anytime from 8:00 to 11 :00;
cover is a mere $5.00.
On October 3 The Flirtations, a San Francisco
based a cappella vocal group, will be doing a special,
nationally broadcast presentation on NETV. Some will
remember this group from their performance at the Johnny
Carson Theatre a few years back. This show begins at 8:00
and tickets are $10.00 regular! $5.00 student.
The rest of the cabaret season is taking shape
quickly so pay close attention as the year progresses. If
you have questions, call Nancy Marshall at 474-4080.
Jazz in June fans
Page 7
Photo by Butch Berman
Jazz in June fans enjoying one of the four shows
New York pix
By Butch Berman and Michele Michaels
Lou Holtzman, Butch Berman, & Norman Hedman in front
of the board at Eastside Sound
Andrienne Wilson and George Cables rehearsing at
Montana Studios
TommyCampbe/l
Page 8
Alex Blake at Eastside Sound
Norman Hedman at Eastside Sound
George Cables at Montana Studios
Wlson, Bobby Watson, and Hedman at Eastside Sound
Page 9
08-10
08-17
08-24
08-31
Jazz on the radio
By Dave Hughes
Jazz on KZUM
KZUM Community Radio, at 89.3 FM in Lincoln,
offers a wide variety of jazz programs every weekday,
afternoon from 12:30 until 3 p.m., except Thursday, when
the jazz lasts until 4 p.m., and Friday, when there really isn't
a jazz program all afternoon long.
Also, on Mondays, Con Goode leads off the week
with two hours of "Dance Bands: When Melody was King"
from 8 to 10 a.m. and Warren "Rude Dog" Rudolph hosts
"Hotter Than That" from 8:30 to 10 p.m. Tuesday nights,
Tom Ineck, The Mayor of Night Town, presides over "Night
Town" from 8:30 to 10 p.m. And, Wagon Master John
Schmitz brings out some western swing Friday nights from
7:30 to 9 p.m. on the KZUM Heyride.
If you would like detailed information about the
jazz programs on KZUM, or would like to receive a current
copy of their program guide, give them a call at 474-5086.
Jazz on Nebraska Public Radio
Nebraska Public Radio, KUCV at 90.9 FM in
Lincoln, and at other frequencies around the state (except
Omaha), offers two nights of jazz each week.
On Friday nights at 11 p.m. you can hear National
Public Radio's "Jazz Profiles," an audio biography of jazz
artists. Then, Liz Chadwick presents "Bohemia After Dark,"
an hour of locally programmed jazz from 12 midnight until
sign off at 1 a.m.
On Saturday nights the jazz continues with Don Gill
and the sounds of the big bands on "Big Band Spotlight"
at 8 p.m. That's followed by two other National Public
Radio programs, "Jazzset" at 9 p.m., hosted by Branford
Marsalis, and "Piano Jazz," hosted by Marian McPartland,
at 10 p.m.
For a free copy of NPRN's program guide
"Members Only," call the stUdio line at 472-2200, or 1-800290-6850.
JAZZ PROFILES in July & August (Friday nights at 11 pm)
07-04 Ahmad Jamal
07-11 Joe Williams
07-18 DocCheatham
07-25 The Jones Brothers: The First Family of Jazz
08-01 Chicago: Portrait of a Jazz City, Part One
08-08 Chicago: Portrait of a Jazz City, Part Two
08-15 Anita O'Day
08-22 James Moody
08-29 Marian McPartland
JAZZSET in July & August (Saturday nights at 9 pm)
07-05 Marcus Belgrave & Nicholas Payton Celebrate Louis
07-12 We Remember Jaco!
07-19 Charlie Haden and Strings at Montreal International
07-26 Irakere in California
08-03 Herbie Hancock Quartet at Washington Square Park
Leon Parker at the Knitting Factory
Branford Marsalis Trio at the Caravan of Dreams
Christian McBride Quartet in Puerto Rico
Michel Camilo & Giovanni Hidalgo Go Mano a Mano
PIANO JAZZ in July & August (Saturday nights at 10 pm)
07-05 Mulgrew Miller
07-12 Tania Maria
07-19 Charles Brown
07-26 Ellis Marsalis
08-03 Terence Blanchard
08-10 Alan Broadbent
08-17 Dave McKenna
08-24 Jim Hall
08-31 Charles Thomas
Jazz on KRNU
The University of Nebraska-Lincoln's student
station, KRNU at 90.3 in Lincoln, now has only one jazz
related show. The program featuring beat poetry called
"Words," hosted by Joe Krings, continues on Friday nights
from 9 p.m. to 11 p.m. (new summer hours). For more
information about this program call KRNU at 472-5768.
Jazz on KIOS
KIOS at 91.5 in Omaha has jazz every weekday
that starts at 1 p.m. in the afternoon and runs until their
daily news block starts at 3:30 pm.
On Mondays at 1 p.m., Jazz Classics in Stereo with
Robert Parker comes your way and then at 2 p.m the
afternoon finishes with Blues in the Afternoon hosted by
Mike Jacobs.
On Tuesdays, the Brazilian Hour starts off the
afternoon at 1 p.m., followed by Jazz in the Afternoon with
Chris Cooke from 2 until 3:30 p.m.
On Wednesdays at 1 p.m. the same Jazzset that
was aired on Nebraska Public Radio the Saturday before is
repeated, but at 2 p.m., the Marian McPartland Piano Jazz
programs are a week ahead of NPRN's schedule.
Wednesday concludes with a half hour of Jazz Revisited
hosted by Helen Schumacher.
On Thursdays, One Night Stand with host Chris
Nielsen kicks off the afternoon of jazz at 1 p.m., followed by
Jazz Junction at 2 with Rick Erben.
On Fridays The Good Old Days starts it off at 1 p.m.
followed by another Jazz in the Afternoon with Jacobs
again that lasts until 3:30 p.m.
On the weekends, Marian McPartland airs again at
8 p.m. on Saturday followed by Jazz Junction with Erben.
again at 9 p.m .. and Last Call with Cooke again at 11 p.m.
There are no jazz programs on Sundays.
For a copy of KIOS's program guide, give them a
call at 402-557-2777 in Omaha.
Page 10
Scrapple from the
Appl e
By Russ Dantzler
Adolphus Anthony Cheatham was born near
Nashville, Tennessee on June 13, 1905. He spent most
of his life avoiding spotlights. Starting in his 60s and
arriving in his 80s, Doc became the rarest of complete artistentertainers. He had been touring in promotion of his
highly-acclaimed current release on Verve with 23-year-old
trumpeter Nicholas Payton.
They came from New Orleans Wednesday to a
three night engagement at Blues Alley in the Georgetown
area of Washington, D.C. "My memories of him are nothing
but smiles," said Kriss Ross, an employee of Blues Alley,
about Doc's last show Saturday night. Butch Thompson,
the pianist on this engagement, joined Doc for a meal after
that show. As he arose very early the next morning in
Washington to be on time for his Sunday brunch that day at
2:00 p.m., he collapsed and did not regain consciousness.
Doc Cheatham's life comprised the longest
steadily rising career I have ever seen. He was one of the
genuinely sweetest individuals I hope to meet, both
onstage and off. He seemed to have spent his life trying to
set a world record for the causing the most smiles in one
lifetime. He has that record by me.
Business Card
Photo by unknown
Doc Cheatham & Butch Berman at Sweet Basil
DOC
CHEATHAM,
BELOVED
JAZZ
TRUMPETER, DIES IN WASHINGTON D.C.
AFTER STROKE; PLANS FOR 92ND BIRTHDAY
BECAME PLANS FOR WELL ATTENDED
MEMORIAL SERVICE
Beloved trumpeter Adolphus "Doc" Cheatham
died at 11 :35 a.m. June 2 at George Washington University
Hospital in Washington, D.C. after suffering a stroke early
the previous morning. Cheatham's wife Amanda, who he
called "Nellie," was at his side, joined by his daughter Alicia
Croker who rushed in from her Fruitland Park, Florida
home. He was just eleven days short of his 92nd birthday,
and a week away from a celebration to precede it at Sweet
Basil in New York City's Greenwich Village where he
originated New York's most successful continuous jazz
brunch nearly 18 years ago.
Sweet Basil was dark that Sunday. A sign on the
window told of the tribute being held at 2:00 p.m. at Saint
Peter's Church - - Manhattan's "jazz church" for decades - at 54th & Lexington. Cheatham's regular Sunday Brunch
Band, pianist Chuck Folds, drummer Eddie Locke
substituting for Jackie Williams and bassist Early May
anchored this musical tribute, open to the public. The
crowd was large enough to justify the church staff locking
the entry doors for the first time to prevent more of Doc's
friends from coming in for safety reasons. A description of
that service, opened by Wynton Marsalis and Wycliffe
Gordon, will appear in the next issue of this newsletter.
MANAGEMENT & PRODUCTION
328 W 43rd St Ste 4F
New York, NY 10036
phone (212) 586-8125
email: [email protected]
fax: (212) 245-2965
Russ Dantzler http://soho.ios.coml-hotjazz/HOT JAZZ.html
Preserving the
Swing Tradition
Letters
Butch,
No apostrophe in Rogues.
Jody Dickerson
Rogues Gallery
(Editor's note: We apologize for putting an apostrophe
between the "e" and the "s" in the word "Rogues" during
The Prez sez in the last issue. However, we beg to differ
with Dickerson, one of the owners of this new club in
Lincoln, an apostrophe should appear after the "s,"
hence, "Rogues' Gallery" is actually correct.)
Page 11
SaID Butera-Wailing
Sax Incarnate
are dazzled to find musicians like Butera's seasoned crew
still blowing full bore, and with a technical facility that lets
you know that musical heroes and role models for the
future aren't a thing of the past just yet. You also are sure
ByMarkDalton
Doctor John talks about Tenor Sax player Sam to find a smattering of uptown Gen-Xers grocking on the
Butera in his autobiography, "Under a Hoodoo Moon: cocktail culture at its finest!
Butera has been well documented at all phases of
The good Doctor was, at the time,1 0 or 11 years old.
his
career,
and this documentation is available on CD for
Butera, somewhere in his twenties, was already a star, the
latest in a line of Italian-American New Orleans jazzmen your listening pleasure. The early Sam can be heard on a
stretching right back to "The Original Dixieland Jass Band" great Bear Family CD called "Hot New Orleans Nights: The
picture of young Sam on the cover, leaning into his horn,
at the dawn of the Roaring '2Os.
shows
the kind of charisma that knocked young Mac
Dr. John: "I first heard tenor saxman Sam Butera,
Rebennack
off his feet these many years ago. The tunes
who later worked as a sideman for louis Prima, Frank
are
instrumental,
with names like "Chicken Scratch" and
Sinatra, and just about everybody else, at a cutting contest
"Wailin'
Walk."
The
liner notes are fine, and in them Sam,
there at the Brass Rail. He was a big thing. I remember how
too,
recalls
the
Brass
Rail and Paul Gayten's three horn
he walked the bar and caught everyone's attention
house
band:
"I
said
that's
the kind of band I want to have,
immediately with his personality. He got up onstage,
and
its
the
kind
of
band
I
have
now:
grabbed his tenor, and blew his ass off. He was show
Recorded
evidence
of
the crazed years with Louis
business, as far as I was concerned ... "
Prima
can
be
found
in
a
primo
CD
released as part of
Today, over 40 years later, Butera is still a star, still
Capitol
Record's
excellent
"Collector's
Series: You may
blowing his ass off, and still "show business" as far as I am
find
this
disc
inexplicably
placed
in
the
"easy listening"
concerned. Butera and his incredible band, "The Wildest"
section of your favorite record store, but don't believe it!
divide their time between the Desert Inn in las Vegas and
This
collection is anything but easy listening, and contains
the Resorts International Hotel and Casino in Atlantic City,
classic
performances from straight ahead R&B like "Jump,
plus a scattering of short stints in Manhattan, San Francisco
Jive
and
Wail" to jazz vocals like "Sing Sing Sing" to bits of
and l.A.
above-mentioned
craziness like· Angelina-Zooma Zooma"
Sam recently reunited with Keely Smith, part of the
which
you
might
remember
Momma Corleone taking a turn
ruling triumvirate of las Vegas lounge music in the '50s,
(continued on page 13)
when "The Louis Prima Show, featuring Keely Smith and
Sam Butera and the Witnesses" was the hippest show to
see, the show where the stars came to unwind and enjoy
themselves afterhours. Rve sets a night, 10 pm to 4 am,
week in and week out. legendary lunacy.
Butera is down to two shows a night now, but the
energy in those two 90 minute sets remains simply breathtaking. I saw this first hand when I caught him at the Desert
Inn (or "the 0.1.," as the cab driver called it) a couple years
ago. Honking on that horn, singing the blues in a fullthroated style full of New Orleans humor, still, after all those
years in the desert, Butera literally jumps, jives and wails
like a man one-third his 70 years. MyoId lady said watching
him run his band through its paces "was like watching the
Chicago Bears - all that raw power, and they can stop on a
dime!"
Butera's show was an amazing mixture of jazz
standards ("Body and Soul"), Rhythm and Blues classics
("Night Train," "Kansas City"), torch songs by Keely, and
some Prima-era classics, that unique blend of Italian folk
music played as an uptempo shuffle that only a nut like
Louis Prima could have conceived.
Butera is a short, stocky fireplug of a man who
looks like he was born to play the tenor sax. His bright
smile and energetic manner were still very much in
evidence off stage as he greeted his fans after the set.
Many of his fans were folks in late middle age, and many
cl~y.had been coming to see him for years. Increasingly
mixed In amongst those fans in recent years, however, are
Sam Butera
musicians like myself, guys in their early middle age who
Page 12
at in the Godfather The whistles and cheers from the
wiseguys in the crowd as Prima slides into Sicilian dialect
have got to be heard on this live cut.
Butera wails, wails, and wails throughout, a master
of the 45 second sax break where every note counts. If this
stuff don't make the hair stand up on your head, get your
pulse checked, 'cause you might be dead!
Finally, Sam Butera today can be heard in all his
"wildest" glory on the Jasmine CD, "Sheer Energy: This
CD is an excellent representation of the show we saw at
the 0.1. "The Greatest Lounge Band in the World- as these
guys were dubbed by an Atlantic City reviewer, and that is
the Gods' truth for my money. They are a lounge band,
and proud of it, and nobody does it better.
Three horns, with Sam himself providing a fourth
horn on many tunes, piano, bass and drums. Everybody
takes a tum, and everybody is killer. The bass player, Bob
Sachs, can walk that Fender like nobody's business. Do
yourself a favor, get hip to a kindly tip. Check out this man's
music. Starting with the Prima CD would be my advice there is something on here to please damned near
everybody. My kids (13 and 11) love it. My mother-in-law
likes it, even. There are laughs guaranteed, and seconds
later you'll be saying holy shit! to yourself, as Butera knocks
you off your feet. This guy gets a lifetime A-plus from the
nightlife association of America! I'm tellin' you, Bubba, you
can't go wrongl
(This article was reprinted from "Blue Suede News" with
the permission of the author, Mark Dalton.
Dalton says, "Butch Berman and I have the same
musical roots - in fact, we started getting into playing at the
same time, and wound up in a band together almost
immediately. I was 15, he was 14, and we rocked and rolled
around Nebraska together for a couple of years in The
Exploits, which later mutated into The Impacts. We weren't
fooling around in those days, music was a way to have
serious fun, and we were definitely having fun on purpose
back then! I believe this is why, all these years later, we're
still friends and both of us are still up to our eyebrows in this
happy mess. Life without music would be no life at all. "
"Like Butch, I've done a long apprenticeship
learning the styles and permutations of American music,
working on my craft in the company of the best players I
could find. Since 1973, I've been playing up and down the
west coast, from Vancouver to San Francisco, leaning on
blues, jump, & swing to keep myself and others amused. "
"In recent years I've been writing more as well. It's a
real pleasure to contribute to this newsletter. Comments
to: <[email protected]>." -Editor)
Freewillin'
By Michele Michaels
BOBBY SHEW
Playing With Fire
Mama Foundation
This latest release by Bobby Shew, Playing With
Fire, on the Mama Foundation label, believe it or not, was
recorded 10 years ago. Although always brilliant and one
of Bobby's best, the project was caught up in a bankrupt
label, and the legal hoopla kept the music locked away.
When it again was available to the market, it was the Mama
Foundation that heard it, loved it, and released it. This CD
is magic. Bobby, in describing the alchemy that took place,
says that while the recording was in progress, "several
close friends who had dropped by for the session walked
out shaking their heads in disbelief. It was an unforgettable
experience for all of US!N Bobby, who is approaching 47
years of trumpet playing with everyone from Tommy
Dorsey to Paul Anka, created a work featuring two of the
greatest trumpeters alive today, and is finally able to be
shared.
Tom Harrell, the often unheralded trumpet genius,
seemed to have a natural affinity toward Bobby, and
likewise. Shew said, "Tom and I were so in-tune with each
other's playing that afterward we had a hard time telling
when one of us stopped and the other started, especially
during the trades."
Harrell is one of the best. His knowledge of
harmonics is at the level of Clifford Brown, Freddie
Hubbard, Miles, and Dizzy. He is addicting. Joe Lovano
had this to say about Harrell's playing style: "He attacks his
instrument; he doesn't just blow and finger the note, he
becomes each note he plays every note counts ... " His
playing is passionate, even sweet, musical seduction,
those within earshot are enriched.
The rhythm section is solid. It was no surprise to
learn that for years Bobby Had been making music with
these musicians, and the sound they make together,
makes that clear.
John Pattatuchi, bass, is world-renowned for his
tenure with Chick Corea's groups. John says he practiced
playing transcribed solos by Clifford Brown. Charlie Parker
and others, but on the bass. This explains why his solos
sound like what a hom player might do.
Kei Akagi plays the piano, adding color and talent
that spans a landscape of styles. Akagi, who also shared
the stage with greats such as Miles, sums up his playing
thusly: " ... sometimes it's about more than making music,
sometimes it's about making human contact. .. " Kei Akagi is
an exceptional musician, and his compositions are a high
point of the CD.
Roy McCurdy is one of a dying breed of real jazz
drummers. He was on the original Jazz Brothers album
(the Mangione brothers presented by Cannonball Adderly),
and later played with "Cannon" many times.
There is nothing weak about this project. The
combination of Bobby Shew, Tom Harrell, Kei Akagi, Roy
McCurdy, and John Pattatuchi is a musical experience
worth having. And, these musicians are all that need be
said about Playing With Fire.
This is one for the collection. • • * • •
Aptly titled due to the extreme temperatures with
CD is applied to the CD unit. The sound is smokin'l
Page 13
(Recordings rated from" to ........ "')
Blues corner
ByRichHoover
July Jamm is a rising star in the field of music
fests. With a three day music, food, and crafts festival that
is continuing to gain popularity, Linco!n, and the
Updowntowners are putting on another great festival this
year. Since the beginning, Ju!y Jamm has been a positive
event that grows every year, and this year is no exception.
,A, jazz stage has been added to the Saturday and
Sunday schedules and the KZUM Music and Book Sale
will be taking place in the festiv·a1 area Both are welcome
a~dition~ to July Jamm's event package. There is always a
Wide variety of food and drink booths with everyone
showcasing there best items. A very nice selection of
artists and artisans will be at the festival this year, with
demonstrations of some of the arts and crafts throughout
the three day event. Throw in a few clowns (both amateur
and professional) and, "Hey, it's a partyl"
Following is an entertainment schedule for the
July Jamm event:
And that is just the music, don't forget the arts,
food and drink. and KZUM ( the community's radio station)
Music and Book Sale.
The festival is located downtown between 11 th St.
and 13th St., between M St. and a st.
FRIDAY, JULY 25
MAIN STAGE
11 :30 - 1:00
BossphH!y (variety,!oca!)
3:45 - 4:45
Kusi Taki (Peruvian drums,local)
5:00 - 6:45
Kansas City Street Sand (R&B,regional)
7:00 - 9:00
Dave Alvin/Gui/ty Men (roots rock, national)
9:30 - 12:30
Lonnie Brooks (blues,intemationa!)
SATURDAY, JULY 26
MAIN STAGE
9:30 - 10:00
Beyond (be-bop,!ocal)
10:00 - 10:45 Lincoln Gospel Community Choir (local)
11 :00 - 12:15
Gentlemen of Jive (swing,local)
Led Jaxson Ban.d (blues, national}
12:30 - 1 :45
2:00 - 3:15
Josh SmithlFrost (blues rock, national)
3:30 - 4:45
One More Time (pop,local)
5:00 - 6:30
Saaro (reggae/world beat,intemational)
7:00 - 9:00
Los Straitjackets (rock,international)
9:30 - 12:30
Lucky Peterson (blues,international)
JAZZ STAGE
2:00 - 3:20
3:40 - 5:00
Tom Larson Trio
jim Wiiiiamson/Annette Murrell
SUNDAY, JULY 27
MAIN STAGE
i 0:00 - i 0:45
Jan Deeds & Cindi Zuby (foik.iocal)
11 :00 - 12:15
Big Daddy/Authorized Personnel
(blues, local)
12:30 -1 :45
Kelly Hunt (blues,national)
2:00 - 5:00
Tommy Castro (blues, intemational)
JAZZ STAGE
12:00 - 1:20
i :40- 3:00
Andy HaJl Trio
Group Sax
Photo by Rich Hoover
Tommy Castro closes July Jamm this year
Kansas City Blues & Jazz Festival is a three
day musical extmvaganza located on the grounds of the
Liberty Memorial in Penn Valley Park just south of
downtown Kansas City at 26th and Main July 18 - 20.
In its seventh year, the KC Blues and Jazz Fest has
bec;ome a mecc3 for over 100,000 music fans from around
the world in celebration of Kansas City's musical heritage.
Utilizing three stages to showcase over 50 blues and jazz
groups, plus a number of area high school music groups it
makes for a big party.
The Kansas City Blues and Jazz Festival is a nonprofit corporation and donates a portion of its proceeds to
the Liberty Memorial - our nation's only WWI monument located in Kansas City. The festival was formed by the
Kansas City Blues Society and the Kansas City Jazz
Festival Committee to merge two festivals into one blues
and jazz fest in 1990.
Page 14
Here's the lineup for this year:
FRIDAY, JULY 18
JAZZ STAGE
Matt Kane Quartet
Chris Botti
George Benson
BLUES STAGE
Big Babr Martin & Chump Change
Kelly Hunt
Tower of Power
SATURDAY, JULY 19
JAZZ STAGE
Dave Stevens Quartet
Jerry Gonzales & Fort Apache Band
Michael Ray & Cosmic Krewe
Jay McShann & Duke Robillard Band
Jimmy Smith
BLUES STAGE
Millage Gilbert
Cory Stevens
Johnny Clyde Copeland
Brian Terry & Zydeco Travelers
Etta James & Roots Band
HERITAGE STAGE
Brody Buster & BWB Band
Zoe Burns Band wfMary Moore & Evan Dease
Hans Theesink & Blues Groove
The Crownseekers
SUNDAY, JULY 20
JAZZ STAGE
Straight Ahead
Dirty Dozen
Roy Ayres
The Yellow Jackets
BLUES STAGE
Linda Shell & Blues Thang
James Harmen
Bobby Rush
Boneshakers
Dr. John
HERITAGE STAGE
Diane "Mama" Ray & Friends
The Crownseekers
Utile Whitt & Big Bo
Bloodstone
For more info call: 1-800-530-KCMO.
Photo by Rich Hoover
Bluesman Charlie Musselwhite at The Zoo Bar
Blues on Disc
ByRichHoover
CHARLIE MUSSELWHITE
Rough News
Pointblank records
Charlie Musselwhite, touring with new CD,
played the Zoo Bar here in Lincoln on June 2nd. Charlie
was in excellent form for the show, continuing on with his
rising status as a harmonica and blues master. Charlie is
writing more songs, five on his latest release, and has a
band that is tighter than a "frog's earhole."
I was fortunate to catch the Zoo Bar show. It was
time well spent, with Charlie playing a selection of tunes
from his last three CDs and a couple that may be on the
next one. He is continuing to expand ,most excellently,
into the acoustic guitar realm, with three on the latest
release. Another interesting expansion is into a broader
influence and adaptation of the blues style,giving it a more
international flavor. This CD release is a fine candidate for
crossover recognition by an even broader audience.
The CD is a compilation of recordings with three
combos and a solo cut with Charlie on acoustic guitar.
From the latest CD liner notes, Charlie stated that:
"We recorded the album over three sessions, all
deeply drenched in the blues, but with different feels. One
was in Chicago with my touring band - those songs have a
bit of a jazzy flavor; one in Los Angeles - this session had
kind of a rocky, modern feel. The songs from the New
Orleans session are real swampy and laidback ... 1think this
recording covers where I'm at as a citizen of the world and
that it reflects the directions I'm pursuing as I follow the
directions of my heart."
I wish Charlie much success, I think he has done an
excellent job in expanding himself as a blues artist and
expanded the blues influence over a broader range with
his masters touch. Also, kudos to !he musicians and
producers that made this package possible.
Page 15
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